Everybody's in Show-Biz is a double album with one record devoted to stories from the road and another devoted to songs from the road. It could be labeled "the drunkest album ever made," without a trace of hyperbole, since this is a charmingly loose, rowdy, silly record. It comes through strongest on the live record, of course, as it's filled with Ray Davies' notoriously campy vaudevellian routine (dig the impromptu "Banana Boat Song" that leads into "Skin & Bone," or the rollicking "Baby Face")…

After the critical (and commercial) success of her debut two years earlier, Rickie Lee Jones had a lot riding on her sophomore album, Pirates. From the opening track, "We Belong Together," Jones served notice that she was willing to challenge herself and experiment with more unusual, complex song structures…

With a bizzare mention of the recording equipment used on the session on the back cover of Katy Lied, rumour was the two main men of the band were not happy with the finished product. I was and still am today. This may not be the best album from the band but neither is this a poor effort as this album contains the songs Black Friday, Daddy Don't Live in That New York City No More,Doctor Wu,Chain Lightning and Bad Sneakers. Not a bad list and there are even some more worth a mention but as the backing band had basically fractured with the departure of all the members bar Denny Dias.

With Another Side of Bob Dylan, Dylan had begun pushing past folk, and with Bringing It All Back Home, he exploded the boundaries, producing an album of boundless imagination and skill. And it's not just that he went electric, either, rocking hard on "Subterranean Homesick Blues," "Maggie's Farm," and "Outlaw Blues"; it's that he's exploding with imagination throughout the record…

Dylan rushed out New Morning in the wake of the commercial and critical disaster Self Portrait, and the difference between the two albums suggests that its legendary failed predecessor was intentionally flawed. New Morning expands on the laid-back country-rock of John Wesley Harding and Nashville Skyline by adding a more pronounced rock & roll edge…

If The Times They Are a-Changin' isn't a marked step forward from The Freewheelin' Bob Dylan, even if it is his first collection of all originals, it's nevertheless a fine collection all the same. It isn't as rich as Freewheelin', and Dylan has tempered his sense of humor considerably, choosing to concentrate on social protests in the style of "Blowin' in the Wind." …

Bob Dylan's first album is a lot like the debut albums by the Beatles and the Rolling Stones – a sterling effort, outclassing most, if not all, of what came before it in the genre, but similarly eclipsed by the artist's own subsequent efforts. The difference was that not very many people heard Bob Dylan on its original release (originals on the early-'60s Columbia label are choice collectibles) because it was recorded with a much smaller audience and musical arena in mind…

Foreigner promptly followed up its blockbuster debut with the equally successful Double Vision LP in 1978, which featured the FM mega-hits "Hot Blooded" and the driving title track. Opting not to mess with a good formula, the band wisely sticks to the polished hard rock sound that made its first record such a hit…

Few debut albums can boast as consistently solid an effort as the self-titled Chicago Transit Authority (1969). Even fewer can claim to have enough material to fill out a double-disc affair. Although this long- player was ultimately the septet's first national exposure, the group was far from the proverbial "overnight sensation." Under the guise of the Big Thing, the group soon to be known as CTA had been honing its eclectic blend of jazz, classical, and straight-ahead rock & roll in and around the Windy City for several years…

Aretha's Gold is a compilation album by Aretha Franklin, released in 1969 at Atlantic Recording Corporation. The album's tracks were recorded at Atlantic Studios, New York, except "I Never Loved a Man (The Way I Love You)" and "Do Right Woman, Do Right Man", which were recorded at the Fame Recording Studios, Muscle Shoals, Alabama.